Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Suriname and from London.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1972.
I'm losing my edge.
To all the kids in London and Lille.
I'm losing my edge to the art-school Madrid kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1973 at the first Television practice in a loft in New York.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Avey Tare to the techno kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Frankie Knuckles. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Amazonics record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Mad Mike,
Hot Snakes,
Oneida,
Heaven 17,
Terry Callier,
Joe Smooth,
DNA,
The Leaves,
FM Einheit,
New Age Steppers,
Mandrill,
Tubeway Army,
Graham Central Station,
Gary Puckett & The Union Gap,
Selector Dub Narcotic,
Lindisfarne,
The Modern Lovers,
Siglo XX,
Roxette,
The Victims,
The Men They Couldn't Hang,
Frankie Knuckles,
Accadde A,
Maleditus Sound,
the Bar-Kays,
Television,
Bobby Sherman,
Siouxsie and the Banshees,
Moebius,
Nils Olav,
Dead Boys,
Circle Jerks,
Q and Not U,
Pete Rock & C.L. Smooth,
The Names,
Popol Vuh,
The Golliwogs,
E-Dancer,
Radio Birdman,
The Shadows of Knight,
The Velvet Underground,
EPMD,
Banda Bassotti,
Sam Rivers,
Eli Mardock,
Pharoah Sanders,
Agitation Free,
Andrew Ashong & Theo Parrish,
Black Bananas,
Max Romeo,
Aswad,
Be Bop Deluxe,
X-101,
The Blackbyrds,
Thee Headcoats,
Subhumans,
Sarah Menescal,
Echo & the Bunnymen,
Todd Terry,
the Fania All-Stars,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.